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How media sites inflate traffic stats and why it never works out

Sites raise money and gain access based on traffic, but the numbers can be deceiving.

The beginning of 2019 has been hard on writers and creatives at a number of the web’s most recognizable sites. Between recent cuts at Buzzfeed and Vice, not to mention a number of smaller publications, estimates show at least 2,000 people lost jobs in media over the past six weeks. Some analysts are referring to these losses as a ‘bloodbath,’ and many expect more downsizing announcements in the near future.

The explanations for the cuts run the gamut from restructuring to cost-cutting. Either way, traffic most likely played a role. Everything related to online media companies boils down to traffic, especially for businesses who rely on outside investors to keep their properties afloat.

To gauge traffic, most investors and industry analysts rely on ComScore, a company dedicated to measuring media online. Faking a score in their system is practically impossible, but some forward-thinking media conglomerates have found a way to game the service’s measurements, at least in the short term, to raise their value.

As Tim Pool explains in the video above, digital media companies adjust their traffic and engagement by acquiring clickbait-heavy platforms and folding that audience into their brand. Here’s an example of the kind of articles these sites generate, which you’ve probably seen promoted at the bottom of articles on numerous media sites:

Articles like these offer little information, but boost engagement by requiring numerous clicks to view their content in full.

Between the clicks and added traffic, media companies can boast big numbers for their community of sites without having to show the performance of individual publications. Big numbers attract big investors, and investments keep the lights on.

Believe it or not, there is nothing illegal about this approach to promotion. The numbers are legitimate. The deception lies in how sites describe what pulls in readers. Here’s an example:

Let’s say a media conglomerate buys a clickbait-heavy site to boost its numbers. The conglomerate may claim their audience turns to them for news and essays on culture when in reality their audience is driven by articles like, ’25 celebrities who had plastic surgery.’ The investors would need to sift through the data for all sites to determine whether or not the company is lying, which requires time and money most do not want to sacrifice.

Over time, however, the truth about most sites comes out. Whether through internal investigations or a drop in traffic that the conglomerate cannot explain away, investors and readers inevitably see through the deception of inflated numbers. Even if they don’t, a number of services have emerged in recent years that can separate real and fake engagement into easy to read reports that anyone can follow.

The cuts we are seeing in media right now are bound to continue unless this trend changes. The problem is that few, if any sites have found a way to generate a committed audience large enough to draw the investment capital needed to build a media empire through legitimate means. When Facebook boasts a potential audience in the billions, what incentives do investors or advertisers have to work with sites whose monthly audience lies in the hundreds of thousands, or even millions?

But there is a catch-22 to the entire affair that will inevitably need to be addressed. Facebook and similar social media platforms are the primary way people consume news and media, but those services rely on countless third-party publishers to create the content users click. Without investors and ad sales, those publishers will go under, which will leave social media giants to generate news and content on their own.

Something has to give. The only questions are, what will it be and when will it happen?

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Advice All Music Writers Should Follow in 2019

The music business in 2019 would be virtually unrecognizable to the music business of 2000. In less than two decades the industry we all love has undergone an extensive transformation that has emphasized access rather than ownership, created a glut of festivals, and brought into question the necessity of quote/unquote ‘music journalists.’ When algorithms can predict success better than even the most gifted ears, and everyone with an opinion can share their thoughts on social media do we have a need for full-time music writers?

The answer, as always, is yes. There may be more people talking about music than ever before, as well as more way to access music, but that does not mean the quality of conversation around the art form is at its peak. As long as great artists are creating impossibly catchy songs that ultimately never receive the praise or support they deserve there is still work to be done on the part of music journalists. There is and will always be a need for people to amplify the voice of artists on the rise, as well as a need for experienced listeners to help those short on time make useful discoveries.

While there is a lot to be said for how music blogs and publications can better themselves in 2019, there is also quite a bit you should be taking it upon yourself to do to get ahead. What follows are three tips to keep in mind as we begin to navigate the uncertain months ahead. The future is always unpredictable, but there is a lot you can do right now to increase your chances of a better tomorrow. If you have any questions, email me: james@haulix.com.

Storytelling matters now more than ever

There was time not long ago when the vast majority of music blogs created just two pieces of content: Reviews and news. The reviews were written hurriedly by young critics trying to make their name by praising or trashing talent, while the news often amounted to little more than copy/pasted press releases tweaked just enough not to be outright plagiarism. Some of this content was good, but most was immediately disposable.

Some of those sites still exist today, but most have died due to an inability to grow their audience. If the content your creating is immediately disposable then the same can be said for your site. If, however, you can find a way to create unique content that no one else can offer then you may be able to set yourself apart.

To do this, we suggest telling more stories. Find an artist you believe in, regardless of popularity, and tell their story. Tell your story about telling their story. Tell the story of their fans and why they choose to care about this artist instead of the other million-plus in existence. Find an angle that interests you and shares it with the world. Take chances. Maybe what you uncover isn’t necessarily new or groundbreaking information, but as long as it is honest and well-written, it will entertain.

Maintain your archives, both public and private

Here’s a nightmare scenario most writers never consider: What happens to your content in the event a hacker attacks the site(s) where you contribute? What happens if the owner of that site suddenly loses interest in the publication and deletes it? What happens if for whatever reason your content disappears before you or anyone else thinks to save a copy elsewhere?

The answer is always the same: Your content is gone forever.

In 2019, there are no longer any acceptable excuses for failing to maintain a personal archive. Too many sites have gone under, and too many people have complained over social media about now permanently lost work for you to fall in line with those who the easily avoidable mistake of not keeping track of your work. After all, who else do you expect to do it? No one cares more about your career in writing than you, so you must be the one to look after and ensure its legacy.

In addition to saving your work offline, we also suggest you maintain a catalog of links to the currently active content you consider to be your ‘best’ work. Services like Contently make this easy and cost-effective. Again, there is no excuse for your archives being a mess. Get it together!

You need a website

Every time we create a post offering advice to individual professionals we make it a point to emphasize the need for a personal site. It doesn’t matter if you own a blog with a hundred contributors or you contribute to a hundred blogs, every single person trying to make it in the music business should have their website. The reasons why are as endless as your imagination, but the main reason is that you need a place where you and your work can be the focus of everyone’s attention. You need a place where your absolute best work is displayed, as well as a place where people can learn more about you and whether or not you are available for freelance work. A personal website can be anything you want it to be. Just make sure you have one.

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How Plagiarism is Treated In Music Writing Today

We live in the age of content overload. It is impossible for most people to keep up with a single feed, let alone multiple accounts across numerous platforms. Add to this the thousands of websites publishing tens of thousands of articles, each vying for the almighty click, and it’s no wonder people in 2018 would still believe people might not notice plagiarism. After all, nobody has time for everything.

Professionals never plagiarize. Professionals believe their purpose is to create, so they would never think to copy the work of another because it could never be a fitting representation of their creativity.

The amateur, however, lacks this mindset. The rookie wants to create and impress at the same. They take on more than they can handle and refuse to disappoint. They mean well but cannot follow through on their commitments because they have not yet developed the skills needed to do so. They also haven’t been able to realize and admit this to themselves.

Here’s the reality of plagiarism in music writing in 2018

Every music publicist worth working with has become a master of Google alerts and traditional online research. There is not a single post about their clients they cannot find because proving they got coverage for their client is crucial to their continued success. In short, they see everything.

When a new post appears that resembles or outright steals from another post, that publicist then contacts the author of the original post, as well as their editor. Together, those three decide how they wish to proceed.

There are three ways these situations tend to be handled:

1. No one does anything, and the plagiarized post remains up.

2. The editor of the offending site is contacted and made aware of the situation, thus transferring the responsibility of taking action to them and their website.

3. The alleged plagiarizer is contacted directly, often by the publicist who discovered the similarities or the editor of the site whose content was stolen, demanding answers

Of these options, the second method of response tends to be the most beneficial. Once the editor of the offending site is made aware of the problem they typically remove the plagiarized post and confront their writer. More often than not, the offending writer is then removed from the site’s contributor pool.

…But the fallout does not end there.

The music industry is small, and the music journalism community is even smaller. It is not a lie to say everyone knows everyone, even if we do not know one another on a personal level. As soon as plagiarism allegation arise the offender – otherwise known as the plagiarizer – may find it challenging to continue pursuing their work in music writing. After all, what site would want to work with someone who steals other writers’ work? What publicist or label or artist would wish to work with someone incapable of creating original content to cover their latest release?

Many who plagiarize claim they did so not out of a desire to mislead, but rather to make their deadlines and otherwise please those who demand they produce content. While this reasoning is understandable to an extent, it does not make stealing okay or otherwise acceptable. It is far more professional to admit you are incapable of meeting a deadline or otherwise finishing something you were assigned than it is to lie about how you completed the work. Lies will get you nowhere in the business. Just don’t it.

To avoid plagiarizing others works, even when you think your thoughts are original, please try these services:

Grammarly: Used by writing and business professionals worldwide, Grammarly aspires to improve your writing better through in-depth analysis. Not only can the service identify plagiarized works, but it can also help you tell your story more interestingly and originally. There are free and premium versions of the software.

Plagiarism Checker: Provided by SmallSEOTools, this site allows you to paste your written work and have it checked for plagiarism. It’s free. https://smallseotools.com/plagiarism-checker/

BibMe: An emerging service in the grammar world, BibMe offers plagiarism review and grammar checking for writers of all types.

If you would like to learn more about plagiarism, as well as gain insight on how to emphasize the importance of originality in creative effort, we also recommend spending time at plagiarism.org.

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Who reads your music blog?

Search the name of virtually any artist or group on social media, and you are bound to find people discussing that act. Opinions on music are a dime a dozen, and when it comes to bands, everyone already knows their value is even less. Still, young music writers around the globe cut corners on a daily basis to be among the first to cover the latest news about the biggest acts in their area of interest. It doesn’t matter if their site has few to no visitors or if much larger publications beat them to the punch, they want to ensure that their readers learn the latest breaking news directly from them.

But who is the audience for the average blog, and who visits websites for news before scrolling social media?

Music publications, especially those lacking funding, rarely build their audience through coverage of talent that is covered by every other zine, blog, or Twitter feed in the world. Music publications gain readers by delivering the stories no one else can. They earn trust through curating a profoundly entertaining and highly engaging conversation around music that they believe deserves recognition.

Covering everything that is popular in music will satisfy people, but it won’t captivate them. If you want people to continue coming back, you need to seek out the stories no one is telling about the musicians that everyone will want to know six months from now. Your job is to hook people with music made by others. There is a finite amount of people who read music sites, and the vast majority are using the same hook to lure readers. Why do that when you can stand out? Why offer what everyone else offers when you can be the alternative?

When you align yourself with artists on the rise, you align yourself with dreamers, and that is – in many ways – your audience. You want people who listen to music and dream of lives not yet lead. You want to provide the soundtrack to their next great escape, and you want to tell them why it’s going to change their lives before they even realize what is happening to them. You want to be a source of discovery, not regurgitation, which continually introduces new sounds and ideas into someone’s life. If you can accomplish one or both of those things, you can make a reader for life. Better yet, you’ll create an ambassador for your work that helps carry word of your writing to places you’ve yet to reach.

So, who reads music blogs? People just like you. People who think the radio is dead and the music they hear everyone else enjoying is stupid, dull, or just plain awful. Be yourself and readers will find you. Do what everyone else is doing, and they will pass you by in search of a more authentic voice.

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A beginner’s guide to producing quality music festival coverage

This post comes to us from Matt Leimkuhler, a writer for the Des Moines Register.

Ahhh. The ever-so formidable task of mastering festival coverage. It’s not easy, running around like a chicken with your head cut off for 12-18 hours on end — making sure every must-see band has been seen, every must-shake hand has been touched and every must-interview act has been chatted with. Not only must you balance every minute of your time and energy, but you must focus that energy to make sure you are creating better content than every other writer on the scene. What does it take for you to stand out during this festival season? Here are five questions I ask myself when going into all types of festivals:

1. What story hasn’t been told before?

Every blog, ‘zine and YouTube account is going to give you the typical, “Must See” lists for festivals, and this is okay. It’s cool to give your thoughts on what the standout acts are. But why not push this idea further? Instead of the “Five Must-See Acts at the Vans Warped Tour,” why not the “Five Songs to Crowd Surf to at the Vans Warped Tour?” Centralize your ideas — make your thoughts unique and insightful. This doesn’t need to pertain to solely preview content — think about different angles for every aspect of the festival.

2. What questions haven’t been asked yet?

If you’re interviewing a band on a festival bill, odds are the act is going through an extreme press run. Don’t waste the band’s time with monotonous questions the likes of “where did you get your band name?” or “how did you all meet?” Goodness, what a waste of time. You [probably] have a smartphone…Google different interviews, visit Wikipedia, or at least read the band’s bio before stepping into the box. Dig into insightful conversation with the musician and you all might actually learn something from one another. And better yet — the artist might actually want to work with you again in the future. A good musician always knows when you’re skidding through an interview and it is a bad reflection on everyone involved. Always do your homework. Don’t be afraid to step away from even insightful and traditional interviews to have a little fun with the artists. Does the band want to talk about the best food to eat on the road? Great! Grab that opportunity and create the best damn “must eat places according to this band” piece possible.

3. What can I do to stay ahead?

Okay: you’ve done amazing preview pieces, you’ve locked in the best interviews, you’ve relentlessly prepared for those interviews and you’ve just landed at the festival. What now? Staying ahead and in your element is tough. Typically, festivals offer the best distractions possible. Food, booze, after parties and sideshows are all fantastic for fans, but you’re at this festival to generate content. Stay in communication with your publicists or tour manager. Embrace the notion of being a public figure. Live tweet sets and daily agendas, reach out to other professionals you know will be in attendance and do your best to not make an ass of yourself (it happens to everyone at least once). Do daily write-ups and reviews of what you’re experiencing at the festival to give the outside world an idea of what’s taking place.  Make the most of every second. Stay focused and make great impressions but don’t forget to have fun and enjoy the fantastic music you’re getting to cover.

4. How do I sum it all up?

Congratulations, you killed your interviews and you made it home safely. Now, time for post-festival coverage. Again – tailor to your audience and strive to be unique in your post-festival coverage. Everyone will have a photo gallery and everyone will have the “best of” lists going live. Try to step back and think about the bigger picture. What really was the best part of the festival? Embrace the entire community you were apart of, not just the music. At this point of your coverage, more than ever, it’s time to be a journalist and tell a story.

5. What about next time?

Be sure to send the required follow up message upon returning home and be timely in turning your interviews around. Never take on too many interviews or you’ll dilute your product and slow down the process. Five well-thought out interviews stand out against fifteen half-hearted interviews any day. Make sure all of the appropriate parties know you are turning your content around in a timely fashion and thank them for the opportunity. Always be humble.

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What to do when someone writes about your music

Gaining the attention of blogs and their readers is no easy feat, especially for unsigned talent with little-to-no history. You can write the best songs and have the most beautiful videos, but if you do not know how to network and pitch yourselves no one will ever learn about your talent. Once they do, however, there will only be a small window of time for you to capitalize on having won a moment of their attention, and this afternoon we’re going to learn what you should do in the hours after first receiving media attention.

1. Take time to celebrate, but realize there is still a lot left to accomplish.

I was never in a band that became popular enough to appear on sites like Absolutepunk or the like, but I would be lying if I said I didn’t spend many nights wishing one of the influential tastemakers of the scene mentioned my efforts in their publication. If your music/video/album gets covered, celebrate! You’ve taken yet another step towards your goal of a career in music, and while it’s certainly not enough to pay the bills, it does serve as a potent reminder other people in the world care about your art. Don’t take that for granted.

2. Tell everyone in the world about the news (and ask them to share it).

This one probably goes without saying, but the unwritten rule of exposure on music outlets is that the band featured will publicly share and/or promote the publication’s content once it’s live. Don’t just share the link to stories with fans, but ask them to share it as well, and don’t be afraid to request they comment on the post if time allows. Sites that see a bump in traffic or discussions from coverage of your band are more likely to cover your music again in the future because they believe there is a value to your content that other unsigned acts cannot provide. To show them that value you will need the help of your fans, and it’s up to you to sell them on sharing your work.

3. Engage the comments section, but don’t antagonize them.

If the reason you’re reading this post is that the first article that was ever written about your music just published you need to understand the response in the comments section may be very slow at first. As much as sites love to help expose young talent, people are not always quick to comment (especially in a positive sense) about something they are unfamiliar with. A great way to combat this is to actively participate in discussions taking place in the comments section of articles about your band. Answer questions for people, offer insight into your creative process and generally speaking do whatever you can to be a decent human being that is open to criticism. It’s not that difficult, but it can make a world of difference in how quickly people become engaged with your art.

4. Say “thank you” and/or support the publication that wrote about you.

You would not believe the power the phrases “please” and “thank you” have in the music industry. From labels to bands, publicists, and everyone in between you would be hard-pressed to find anyone who thinks they hear either of those phrases too often. People tend to do as they please and take what they want without giving much thought to the process behind it all, but you can stand out from the countless unsigned artists of the world by voicing your appreciation to the sites that give you space on their front page. It does not have to be anything formal, but it should be sincere. People remember those who are kind to them, and they’re far more likely to want to work with you again in the future as a result.

5. Don’t be afraid to begin teasing your next announcement.

Once people learn about your art it’s very likely they will want to know everything they can about your current efforts. Using social media and the comments sections on posts about your work, take a moment to tell people about everything else you have going on while your name is still fresh on their minds. They might not buy the album or see the tour you’re trying to promote, but at least they’ll know of it and will have the ability to share that information with others if such opportunities present themselves.

6. Offer to send the site/writer more music. 

Has the site that covered you written about your latest album? Have they been to a show? Did they see the last video? Make the most of the attention you’ve earned and offer to deliver more material as soon as possible. Any positive response your initial article receives will increase the likelihood of the site picking up more coverage in the future.


Want more industry advice? Follow Haulix and writer James Shotwell on Twitter!

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10 lessons from 10 years in music writing

Time flies when you’re chasing your dreams, and I’ve been running after mine for ten years as of this week. It was March of 2008 when I first launched a music blog of my own, and in the time since I have accomplished virtually everything I initially set out to achieve. This is both wonderful and terrifying, as I still have a lot of life and career left, but I try to look on the bright side of life whenever possible.

The last decade has provided countless learning opportunities. Some arose from natural growth, while others were caused by mistakes made on my part. Through it all, I tried my best to remain humble, calm, and open-minded to the possibility that I had no idea what I was doing (because I didn’t). That decision made all the difference, and as I look toward the future, I’m hoping I can apply the lessons learned from the last ten years in my everyday life. You can do the same if you so desire. Here is the list:

1. Don’t be a dick (aka the golden rule)

2. Grammar matters (kind of)

3. Everybody talks

4. Networking will get you everywhere

5. Always follow-up

6. Your peers are watching

7. No job lasts forever. Change is the only constant.

8. If you’re in it for the money, you won’t be around long

9. Write every day, especially when you don’t feel like it. Even the best writers fight resistance on a daily basis

10. Leaking album or tour information is not the same as breaking news.

I could go on, but if you can follow these rules, you will go far.

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Join the 2018 Music Writing Exercise this February!

Music journalist Gary Suarez developed a great exercise for music writers at every level of the profession in early 2015 that has since been revisited every year since. We plan to participate and hope the rest of you will as well. Here are the rules:

Each day in February, listen to 1 full album you’ve never heard, from start to finish. Once complete, write one tweet about the album you just heard and tag it with #MWE so others can follow your efforts.

You can choose any album you wish, but if you’re stumped please do not hesitate to ask us and other for recommendations. In fact, we may post some on here just in case.

Are you in? Tweet us and share your list. Here’s what we will be listening to:

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What happens when you steal someone’s work?

We live in the age of content overload. It is impossible for most people to keep up with a single feed, let alone multiple accounts across numerous platforms. Add to this the thousands of websites publishing tens of thousands of articles, each vying for the almighty click, and it’s no wonder people in 2018 would still believe people might not notice plagiarism. After all, nobody has time for everything.

Professionals never plagiarize. Professionals believe their purpose is to create, so they would never think to copy the work of another because it could never be a fitting representation of their own creativity.

The amateur, however, lacks this mindset. The amateur wants to create and impress at the same. They take on more than they can handle and refuse to disappoint. They mean well but lack the ability to follow through on their commitments because they have not yet developed the skills needed to do so. They also haven’t been able to realize and/or admit this to themselves.

Here’s the reality of plagiarism in music writing in 2018…

Every music publicist worth working with has become a master of Google alerts and traditional online research. There is not a single post about their clients they cannot find because proving they got coverage for their client is crucial to their continued success. In short, they see everything.

When a new post appears that resembles or outright steals from another post, that publicist then contacts the author of the original post, as well as their editor. Together, those three decide how they wish to proceed.

There are three ways these situations tend to be handled:

1. No one does anything and the plagiarized post remains up.

2. The editor of the offending site is contacted and made aware of the situation, thus transferring the responsibility of taking action to them and their site.

3. The alleged plagiarizer is contacted directly, often by the publicist who discovered the similarities or the editor of the site whose content was stolen, demanding answers

Of these options, the second method of response tends to be the most beneficial. Once the editor of the offending site is made aware of the problem they typically remove the plagiarized post and confront their writer. More often than not, the offending writer is then removed from the site’s contributor pool.

…But the fallout does not end there.

The music industry is small, and the music journalism community is even smaller. It is not a lie to say everyone knows everyone, even if they don’t know them on a personal level. As soon as plagiarism allegation arise the offender – otherwise known as the plagiarizer – may find it difficult to continue pursuing their work in music writing. After all, what site would want to work with someone who steals other writers’ work? What publicist or label or artist would want someone incapable of creating original content to cover their latest release?

Many who plagiarize claim they did so not out of a desire to mislead, but rather to make their deadlines and otherwise please those who demand they produce content. While this reasoning is understandable to an extent it does not make stealing okay or otherwise acceptable. It is far more professional to admit you are incapable of meeting a deadline or otherwise finishing something you were assigned than it is to lie about how you completed the work. Lies will get you nowhere in the business. Just don’t it.

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How to conduct great, original interviews 

Music writers today are inundated with requests for coverage from artists and their representatives on a daily basis. There are far too many for one person to ever do them all, and most would not be worth the effort anyway. This is not a slant against artists or writers, rather an acknowledgment that conducting a good interview is hard. Real hard.

I statistic I just made up claims only one in five interviews conducted with musicians ever result in new, interesting information being uncovered. The majority of interviews tend to cover promotional points as if they are being read off a checklist. The basic outline of these conversations goes something like this:

– How are you?

– How is the tour?

– Where do you like to tour?

– When are you recording again?

– Are you working on material right now?

– Do you have any crazy stories to share?

– How can people stay connected to you online?

Some questions may be added or subtracted based on circumstance. None of these questions are inherently terrible, but they also limit responses to information that could easily be found in a press release or social media update.

In order to make your interview deserving of attention, you need to uncover something deeper and more human in your interviews. To help you do this, I would like to remind you of something:

Musicians and celebrities, at any level, are just people.

Now I know that sounds obvious, but all too often journalists treat the subjects of their interview like a business rather than another person. The questions outlined above are not that far removed from the following:

– How’s business?

– Is your latest product performing well?

– What do you like about this product?

– When can we expect another product?

– Are you working on something right now?

– Is there anything consumers don’t know about your business?

– How can we learn more about your products?

Great interviews strip away the idea of celebrity altogether and share the unique perspective on life possessed by an individual or group. That may sound difficult, but in reality, it is one of the easiest things to capture. All you have to do is this:

Don’t ask questions. Have a conversation.

Treat the people you interview as if they were someone you started talking to simply because you were curious. Cover the necessary bases of promoting whatever it is they are looking to promote, but also strive to understand the person behind the art. Ask about the influencing or motivating factors in their life and explore why those things have such an impact on them. Ask if they creativity comes easy or if it is a daily challenge. Ask them if they are content. Ask them what they need and want. Ask them the kind of thing you would ask anyone whose happiness and well being you are concerned about because ultimately that is the real reason for the interview in the first place: You care about this person or group, for whatever reason, and you hope more people will as well.

Allow your interview subject space and opportunity to be themselves and I promise – people will surprise you.

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